Let’s face it, I came to Ohio State to make a graphic novel. For me, it was the epitome of holistic design and a realization of “epic integration.” In the professional world, I was forever battling to make clients and decision-makers embrace the idea as it applies to brands and their stories — experiences. Over the years though, so much of your design sensibility becomes second nature, intuitive. What seems obvious to you is not obvious to everyone else. Thankfully the faculty prodded this out of me and as a result there was the discovery of design fiction.
Through design fiction, idea-objects gain knowledge mass and a sense of credibility. But design fiction is more than just constructing a set of plausible constraints through which a design might exist. Bleecker states that drama is of great importance. “We can put the designed thing in a story and move it to the background as if it were mundane and quite ordinary — because it is, or would be. The attention is on the people and their dramatic tension, as it should be.” (Bleecker, 2009:37) Thus, design becomes that invisible collaborator with culture in making life seem as real in the future as it is real for us now.
In fact, science fiction has a long history of introducing new technologies and artifacts that go on to become real world devices. The gesture-based interface of Minority Report or the multi-storey videos of Blade Runner are only two examples.
Evolutionary geneticist and science lecturer David Kirby calls these props “diegetic prototypes” (Kirby, 2010:1) “Film-makers and science consultants craft diegetic prototypes and enhance their realism by creating a full elaboration of the technological diegesis which includes any part of the fictional world concerning the technology. Through their actions they construct a filmic realism that implies self-consistency in both the real world and the story world.” (Kirby, 2010:46).
While design fiction can be used in filmmaking to create acceptance of a concept or idea as some kind of future product placement, that is not its greatest potential. “A particularly rich context, a good story that involves people and their social practices rather than fetishizing the object and its imagined possibilities — this is what design fiction aspires to.” (Bleecker, 2009:27).
Playing around with these concepts makes for a very rich exploration into a future design. Stay tuned for the story synopsis, characters and more – coming August 2011.
Bleecker, Julian. 2009. Design Fiction: A short essay on design, science, fact and fiction. Online. http://www.nearfuturelaboratory.com
Kirby, David. 2010. The Future is Now: Diegetic Prototypes and the Role of Popular Films in Generating Real-world Technological Development. Social Studies of Science, 40/1; 41–70, February 2010. http://www.sagepub.co.uk/journals